Acting with Style, 10. kötetPrentice-Hall, 1982 - 292 oldal From preface: This book is aimed at helping the actor discover what kind of play he is in--to identify the stylistic clues--and then come to a physical awareness of how it should be played. |
Részletek a könyvből
1 - 3 találat összesen 33 találatból.
80. oldal
... look when prepar- ing to play Jaques , and not to his genes or childhood environment , which in any case we can know nothing of . There is a certain relationship between the " essence " of a Shakespearean character and the mask of a ...
... look when prepar- ing to play Jaques , and not to his genes or childhood environment , which in any case we can know nothing of . There is a certain relationship between the " essence " of a Shakespearean character and the mask of a ...
94. oldal
... look like an abstract painting . Look at the whole effect of the speech in visual terms . See whether the shades and tones blend , or whether there are images that stand out from the rest . This ex- ercise , combined with the speech ...
... look like an abstract painting . Look at the whole effect of the speech in visual terms . See whether the shades and tones blend , or whether there are images that stand out from the rest . This ex- ercise , combined with the speech ...
175. oldal
... look , followed by surprise . A double take may be made into a triple by split- ting the suddenness of realization : first look brings no reaction ; somewhat quicker second look , some reaction ; lightening - quick third look as ...
... look , followed by surprise . A double take may be made into a triple by split- ting the suddenness of realization : first look brings no reaction ; somewhat quicker second look , some reaction ; lightening - quick third look as ...
Tartalomjegyzék
PLAYING TRAGEDY | 9 |
SHAKESPEARE | 48 |
PLAYING COMEDY | 99 |
Copyright | |
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Gyakori szavak és kifejezések
absurd theatre achieve acter acting action activity actor American Conservatory Theatre Artaud Artaudian theatre attitude audi audience aware Bald Soprano basic Beckett become Bertolt Brecht body Brecht century char character mask character's chorus circle clothing Coach the players comedy of manners comic commedia confrontation costume create dance demands dialectical Dionysus discover drama dynamic Elizabethan emotional ence energy epic epic theatre essential event exercise explore farce feeling focus function gesture give Greek tragedy Harpagon hieroglyph human humor images impulse intensity Ionesco language man's Marxism meaning ment Molière moral move movement nature performance physical play playwright poetic political realistic reality response reveal rhythmical rhythms ritual Royal Shakespeare Company scene sense sensibility sexual Shakespeare's simple situation slapstick social mask society space speech spine spirit stage strong structure style suggested tends theatrical tion truth verbal verse Waiting for Godot words